The really wonderful thing about Sienkiwicz's art in the original Moon Knight is that you can see him experimenting with his style as the series progresses. It might not be as blatant as his experimentation in New Mutants at the same sort of time, but he still moves from a very smooth Neal Adams imitation to something a lot more unusual and distinctive in both.

I'm not sure it's fair to dismiss that objection as mere snobbery on your part. Ellis is doing a series called The Wildstorm, rebooting the old Wildstorm characters from the '90s one of whose main selling points (if I'm not misremembering and doing early Image titles a disservice) was that they had a coherent and workable internal continuity that didn't go back to the second world war and was nothing like the Marvel and DC universes that did, and wasn't full of characters who blatantly ripped that stuff off (apart from Rob Leifeld's "I told the careers advisor at school that I wanted to be Jack Kirby when I grew up and he told me not to be so fucking stupid when he finally stopped laughing" arse dribble, but the Extreme stuff very blatantly wasn't the Wildstorm stuff: some of the Wildstorm stuff was rather good, and even the real dreck like Hazzard wasn't half as shite as Leifeld's output).

Didn't he do that himself for Planetary?
(BTW: the new set up has any white text that's so hidden to avoid spoilers partially obscured by a "quote this?" popup tag thing when you highlight it to read it.)

To be fair, that sort of thing is why we have a superego standing over our id with a blunt implement in its hand and a stern look in its eyes...
(I think rather than a buried desire of Constantine's that was supposed to be his ousted shittiest bits exploiting Gemma's fantasies in pursuit of forced sex, though. At least, I hope it was.)

Has Chuck Dixon written any X Men? He spent the whole of his run on the Punisher bragging about his credentials as a gun bunny and how that proved he was the best qualified writer in comics to be writing that character, iirc.

I really liked that about Fire From Heaven, if I'm honest: all of this random seeming revising of backstory coming out of nowhere in the middle of what would otherwise have been a very dull Marvel style cross marketing crossover actually made it worth reading.
(And yes, I think you're right that Ellis sees giving Jenny Sparks a slight makeover as the most radical revision in the comic, particularly as he's writing exactly the same Henry Bendix as he did in Stormwatch. Perceptive reading that, I'd have said.)

The race and sex change stuff doesn't bother me any, but he's only doing it with "meh" type characters rather than the ones who are a big deal: if he'd made Grifter a black chick or Zealot a black guy, it'd look a lot less like tokenism, wouldn't it? Hell, if he wants to stir things up, he could have made Marlowe a tall sort and Voodoo a guy, couldn't he?
(Of course, I'm not cynical enough to wonder if he's going through the Wildstorm U sexually reassigning people because of all the fuss about Doctor Who now being a Time Lady.)
God point about John Colt, though: I'd completely forgotten that was finally set up as an earlier model of Spartan after he stopped being a '60s superhero nobody had ever heard of who was pretending to be Kaizen Gamorra.